Life keeps hurtling forward, bursting forth. It’s spring in California, the jasmine’s come in and the streaky roses. It’s been raining hard all morning; just now it stopped abruptly. Lyn writes in My Life, “she observed that detail minutely, as if it were botanical. As if words could unite an ardent intellect with the external material world.” This is Lyn, vitally observing, drawing it all into relation, the mind and the world, botanical, passionate. Making words hold life, making words as life. “Such that art is inseparable from the search for reality,” she writes.
Conflicting Englishes
Cheap signaling and vernacular poetry
Since I’ve been offering commentaries about multilingualism for several months now and haven’t yet devoted any time to addressing poetries that use nonstandard varieties of English, I want to turn my attention to that particular elephant in the room. The question of what type of language poetry should use is, to employ another familiar expression, as old as the hills. Debates over what Wordsworth called “the real language of men” and its place in, or relation to poetry are at once passé and radically contemporary — a source of perennial debate.
This past summer, the publication of Daniel Tiffany’s essay “Cheap Signaling” drew renewed and welcome attention to the question of poetic diction and how it ought to relate to “real” language. Tiffany explores a wide array of contemporary poems that use a “fabricated language of the ‘underneath’” to queer “the diction of poetry,” mixing “a nice tranche of idiomatic talk” with the “glam-tags of theory.”